The composer's word as author's gesture

Article is devoted to analysing the one of the less studied problems of a composer verbal discourse. Gesture is investigated by the historical and culturological branches - E.A. Bobrinskaya, A.V. Venkova, N.B. Mankovskaya, A.K. Bayburin, A.L. Toporkov, M. Yampolsky; the semiotics - A. Vezhbitskaya, E. V. Krasilnikov, G.E. Kreydlina, T.M. Nikolaev, D. Efron, art criticism - A.V. Arustamyan, A.Y. Brodetsky, O. Bulgakova, V.V. Zhadanov, Yu. Tsivyan. The attempt to adaptate theoretical postulates of a paralinguistic kinesika to musicology of composer tradition is carried out in this work, possibility of converting the semantics of physical, corporal gesture in the creative action that opene the semantic potential of the composer word about music is comprehended. The verbal strategy of the composer which is carried out in a foreshortening of the author's statement about itself can be interpreted as individual gesture, gesture of author's will, gesture of auto-presentation. Word creation of the composer is considered in two ways: as gesture of autopresentation and as communicative gesture. They are unseparable because demonstration of a personal position is always public action. The ambivalent nature of gesture is shown that the internal gesture representing the sphere of an author's intentionality becomes external, being broadcast outside. Making this or that creative, verbally expressed act gesture, the composer, thereby, consciously and purposefully shows himself to the world. "Statement-gesture" which performer is the composer, has a number of predicative characteristics, somehow: esthetic, verbal, intellectual, conceptual, communicative, philosophical, art and esthetic, semantic, ideological. The offered interpretation of metaphors "gesture", "gesture activity", expanding a zone verbal in composer practice, expresses ideas of author's activity and creative freedom, relevant to autopresenta-tional intension of composer strategy.

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